On a Friday night in February 1926, a crowd of some 1,500 packed the Renaissance Casino in New York City’s Harlem neighborhood for the 58th masquerade and civil ball of Hamilton Lodge.

Nearly half of those attending the event, reported the New York Age, appeared to be “men of the class generally known as ‘fairies,’ and many Bohemians from the Greenwich Village section who...in their gorgeous evening gowns, wigs and powdered faces were hard to distinguish from many of the women.”

The tradition of masquerade and civil balls, more commonly known as drag balls, had begun back in 1869 within Hamilton Lodge, a black fraternal organization in Harlem. By the mid-1920s, at the height of the Prohibition era, they were attracting as many as 7,000 people of various races and social classes—gay, lesbian, bisexual, transgender and straight alike.

Stonewall (1969) is often considered the beginning of forward progress in the gay rights movement. But more than 50 years earlier, Harlem’s famous drag balls were part of a flourishing, highly visible LGBTQ nightlife and culture that would be integrated into mainstream American life in a way that became unthinkable in later decades.

“In the late 19th century, there was an increasingly visible presence of gender-non-conforming men who were engaged in sexual relationships with other men in major American cities,” says Chad Heap, a professor of American Studies at George Washington University and the author of Slumming: Sexual and Racial Encounters in American Nightlife, 1885-1940.

In addition to these groups, whom social reformers in the early 1900s would call “male sex perverts,” a number of nightclubs and theaters were featuring stage performances by female impersonators; these spots were mainly located in the Levee District on Chicago’s South Side, the Bowery in New York City and other largely working-class neighborhoods in American cities.

By the 1920s, gay men had established a presence in Harlem and the bohemian mecca of Greenwich Village (as well as the seedier environs of Times Square), and the city’s first lesbian enclaves had appeared in Harlem and the Village. Each gay enclave, wrote George Chauncey in his book Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940, had a different class and ethnic character, cultural style and public reputation.

As the United States entered an era of unprecedented economic growth and prosperity in the years after World War I, cultural mores loosened and a new spirit of sexual freedom reigned. The flapper, with her short hair, figure-skimming dresses and ever-present cigarette and cocktail, would become the most recognizable symbol of the Roaring Twenties, her fame spreading via the new mass media born during that decade. But the ‘20s also saw the flourishing of LGBTQ nightlife and culture that reached beyond the cities, across the country, and into ordinary American homes.

Though New York City may have been the epicenter of the so-called "Pansy Craze," gay, lesbian and transgender performers graced the stages of nightspots in cities all over the country. Their audiences included many straight men and women eager to experience the culture themselves (and enjoy a good party) as well as ordinary LGBTQ Americans seeking to expand their social networks or find romantic or sexual partners.

“It gave them many more possible places they could go to meet other people like themselves,” Heap says of the Pansy Craze and accompanying lesbian or Sapphic craze, of the ‘20s and early to mid-‘30s. “At its height, when many ordinary heterosexual men and women were going to venues that featured queer entertainment, it probably also provided useful cover for queer men and women to go to the same venues.”

At the same time, lesbian and gay characters were being featured in a slew of popular “pulp” novels, in songs and on Broadway stages (including the controversial 1926 play The Captive) and in Hollywood—at least prior to 1934, when the motion picture industry began enforcing censorship guidelines, known as the Hays Code. Heap cites Clara Bow’s 1932 film _Call Her Savag_e, in which a short scene features a pair of “campy male entertainers” in a Greenwich Village-like nightspot. On the radio, songs including "Masculine Women, Feminine Men" and "Let’s All Be Fairies" were popular.

The fame of LGBTQ nightlife and culture during this period was certainly not limited to urban populations. Stories about drag balls or other performances were sometimes picked up by wire services, or even broadcast over local radio. “You can find them in certain newspaper coverage in unexpected places,” Heap says.

With the end of Prohibition, the onset of the Depression and the coming of World War II, LGBTQ culture and community began to fall out of favor. As Chauncey writes, a backlash began in the 1930s, as “part of a wider Depression-era condemnation of the cultural experimentation of the 20's, which many blamed for the economic collapse.”

The sale of liquor was legal again, but newly enforced laws and regulations prohibited restaurants and bars from hiring gay employees or even serving gay patrons. In the mid- to late ‘30s, Heap points out, a wave of sensationalized sex crimes “provoked hysteria about sex criminals, who were often—in the mind of the public and in the mind of authorities—equated with gay men.”

This not only discouraged gay men from participating in public life, but also “made homosexuality seem more dangerous to the average American.”

By the post-World War II era, a larger cultural shift toward earlier marriage and suburban living, the advent of TV and the anti-homosexuality crusades championed by Joseph McCarthy would help push the flowering of gay culture represented by the Pansy Craze firmly into the nation’s rear-view mirror.

Drag balls, and the spirit of freedom and exuberance they represented, never went away entirely—but it would be decades before LGBTQ life would flourish so publicly again.